A Quote by Peter Brook

Any scene in Shakespeare can be vulgarised almost out of recognition with the wish to have a modern concept. — © Peter Brook
Any scene in Shakespeare can be vulgarised almost out of recognition with the wish to have a modern concept.
The generous wish to share with all what is precious, to spread broadcast priceless truths, to shut out none from the illumination of true knowledge, has resulted in a zeal without discretion that has vulgarised Christianity, and has presented its teachings in a form that often repels the heart and alienates the intellect.
Human beings have the capacity to learn to want almost any conceivable material object. Given, then, the emergence of a modern industrial culture capable of producing almost anything, the time is ripe for opening the storehouse of infinite need!... It is the modern Pandora's box, and its plagues are loose upon the world.
All the unimaginative assholes in the world who imagine that Shakespeare couldn't have written Shakespeare because it was impossible from what we know about Shakespeare of Stratford that such a man would have had the experience to imagine such things - well, this denies the very thing that separates Shakespeare from almost every other writer in the world: an imagination that is untouchable and nonstop.
I wouldn't call myself a modern Shakespeare, but Shakespeare was probably to his generation what I am to mine.
You can be an artist without visual images, a reader without eyes, a mass of erudition with a bad elementary memory. In almost any subject your passion for the subject will save you. If you only care enough for a result, you will almost certainly attain it. If you wish to be rich, you will be rich; if you wish to be learned, you will be learned; if you wish to be good, you will be good. Only you must, then, really wish these things, and wish them with exclusiveness, and not wish at the same time a hundred other incompatible things just as strongly.
When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.
Shakespeare's always been sitting on my back, since I began reading. And, certainly, as a writer, he's who I hear all the time. And he's almost indistinguishable now from the English language. I have no sense of what Shakespeare is like. I have no sense of the personality that is Shakespeare. I think, alone among writers, I don't know who he is.
Not Shakespeare. In college I took a Shakespeare class because I was an English major, and they had a Summer program called Shakespeare at Winedale, which is out in the German Hill country in Texas , where you go out and live for two months and then you perform three plays at the end of that time.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
I hate that word, CAN’T. I wish it had never been dreamed up, spoken, or defined. I wish the concept of CAN’T could be eradicated not only from language, but more importantly from the psyche of a girl who I know is filled with so much CAN it seeps out of her pores and scents the air.
Certainly a big challenge for me with evening-wear is to make it look modern and artistic and avant-garde. The very concept of a ball gown is not in itself a modern concept, and women need to wear that for a certain presence in Hollywood. I'm also aware that a starlet might go to more than one place that night so the piece could also offer, maybe not a revolution, but an evolution.
A modern mathematical proof is not very different from a modern machine, or a modern test setup: the simple fundamental principles are hidden and almost invisible under a mass of technical details.
I found that the more I'd done Shakespeare, and the more I trusted my instincts and applied the same rules you would apply to any scene, the closer I got to how it's meant to be acted.
There should be a spirit of dialogue. Whenever we see any disagreements, we must think how to solve them on the basis of recognition of oneness of the entire humanity. This is the modern reality.
The human heart is not unchanging (nay, changes almost out of recognition in the twinkling of an eye).
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